gravură - Universitatea Naţională de Arte

mimetic representation, we cannot but accept that in its dialoguewith the visible world and in an effort to create, the artist has todeal with clear themes that have not changed much over time, suchas: the definition of the subject, the suggestion (idea) of forms andtheir materiality.Therefore, an important part of this study will investigate the subjectof materiality in printmaking, keeping in mind the important rolethat this kind of art has had up until the birth of CLISEOGRAFIE-- that old artistic technique of reproduction (multiplication) oforiginals from the vast domain of the fine arts.It is important to accept the idea that, in the particular case ofprintmaking as an artistic field, we are dealing, as a primary objectof study, with a double condition of the concept of materiality:a. that of the physical presence of the painting, sculpture orprintmaking as an art work in itself and as a predominant motif ofthose subjects, when printing did not yet exist. In this case, only themastery of the printmaker could represent mimetically the softnessof painted nuances, the luster of marble, the quiet brilliance ofbronze. In the absence of the photographic document, during threeor four hundred years, only printmaking could reproduce (multiply)and make known to the world famous works of art.b. That of the specific way that belongs to the artistic genius,by which the references of the visible motifs, with such nuances ofmateriality could be represented in the work of art. This secondhypothesis of the concept of materiality is imposed in terms ofprintmaking as a genre that stands by itself. The printmaker, whenconfronted with the provocations of the visible world, and wants toMATERIALITATEA ÎN GRAVURĂ205